Vudosho In French lute-tablature Unisono. Much of the other music is stylistically indistinguishable from contemporary vocal works by other composers; consequently, some of the pieces may be intabulations of other schlicj works. By he was the highest-paid musician at the court with a salary almost twice higher than that of the next-highest musician, and comparable to the salary of the court treasurer. The 2nd Version is a quart higher.
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Octave and Mixture from the Hauptwerk Regal stop Trompete or Posaune He emphasizes that each stop should have a distinct sound, easily distinguishable from all others, and that performers should make good use of contrasting registrations. To illustrate how an organ should be tuned, Schlick indicates the length of a pipe speaking F , the bottom note of his compass.
To this end, a line is printed in the margin, and the length of the pipe is given as being 16 times the length of that line. Numerous estimates have been suggested in the past, and some scholars most notably Arthur Mendel actually doubted whether the length of the line in question was rendered correctly during printing. Today, most scholars agree that the pipe would produce a sound slightly more than a whole tone below the present-day F.
Tabulaturen contains ten compositions for organ: a setting of Salve Regina five verses , Pete quid vis, Hoe losteleck, Benedictus, Primi toni, Maria zart, Christe, and three settings of Da pacem. Of these, only Salve Regina and the Da pacem settings are fully authentic.
Unlike most preceding and contemporary organ composers, Schlick tends to use four voices rather than three, and in the first verse there are instances of two voices in the pedal , a technique unheard of at the time.
The first movement begins with an imitative exposition of an original theme with an unusually wide for a theme used imitatively range of a twelfth and proceeds to free counterpoint with instances of fragments of the original theme. Movements 2 and 3 Ad te clamamus and Eya ergo begin by treating the cantus firmus imitatively, and the opening of Eya ergo constitutes one of the earliest examples of fore-imitation: This technique, in which a motif treated imitatively "foreshadows" the entrance of the cantus firmus, later played a major part in the development of the organ chorale.
It still breathes the strict spirit of the Middle Ages, which brought forth so many wonderful works, but new forces are already at work that lend this composition a novel fulness of expression and sound.
The antiphon is in the discantus in the first setting, in the tenor in the second, and in the bass in the third. The former has been called "the first organ ricercar "  because of its use of imitation in a truly fugal manner,  but it remains unclear whether the composition is an original piece by Schlick or an intabulation of a vocal work by another composer.
The piece begins with a long two-voice section. Other organ pieces in the Tabulaturen employ a variety of methods, most relying on imitation with the notable exception of Primi toni, which is also unusual for its title, which merely indicates the tone, but not the cantus firmus.
Pete quid vis, a piece of unknown origins and function, consists of a large variety of different treatments of a single theme, either treated imitatively itself, or accompanied by independently conceived imitative passages.
Gaude Dei genitrix settings establish various ways of reinforcing a two-voice setting, in which the chant is accompanied by moderately ornamented counterpoint, by duplicating both lines in parallel thirds, fourths, or sixths. The pieces, which may have been intended for voices rather than the organ,  range from three- to five-voice settings.
Schlick himself noted the didactic aspect, writing that he "found and made a separate rule for each setting, which are so clear that it will be easy to set all chants in the same manner. The ten-voice work is unique in organ repertoire, both for the polyphonic scope and the pedal technique. The pieces are organized by difficulty, which reflects the didactic aspect of the Tabulaturen. Almost all the songs are settings of German polyphonic Lieder on secular texts.
There are two exceptions. This would imply that Schlick borrowed the idea to apply for an imperial privilege for Spiegel and Tabulaturen from Petrucci. Also, unlike other lute settings, it does not use bar form. Schlick may as well have participated in such performances: he could play both lute and harp. The changes range from addition of modest ornaments, as in Nach lust or Vil hinderlist, to insertions of new material, as in Mein M. All Ding mit radt contains numerous passages in two voices, and so serves as an introduction to playing three-voice music.
Finally, Weg wart dein art is a free intabulation, with numerous ornaments, figuration and other embellishments. He was a much sought-after organ consultant, and while his blindness prevented him from doing much of the construction he was closely associated with organ-builders as an advisor; he tested new organs, performed widely, and was a strong influence among other composers at the time. His method of weaving contrapuntal lines around a cantus firmus , derived from a chorale tune, can be seen as foreshadowing the development of the chorale prelude in a later age.
Schlick can be seen as the first figure in a long line of development which culminated in the music of J. Bach more than two hundred years later. List of works[ edit ] Music[ edit ] Heidelberg as it appears today. Works for lute: Mein M. Letter to Bernardo Clesio late —early : Ascendo ad Patrem meum a 2, for organ Ascendo ad Patrem meum a 10, for organ Gaude Dei genitrix, 8 settings a 3—5, for organ 2 songs, 4vv Mi-mi, fragment, possibly from a lost mass setting  only soprano and bass parts survive from a 3- or more voice setting.
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